‘I sing of arms and of the man’

After a century of civil strife in Rome and Italy, Virgil wrote The Aeneid to honour the emperor Augustus by praising Aeneas – Augustus’ legendary ancestor. As a patriotic epic imitating Homer, The Aeneid also provided Rome with a literature equal to the Greek. It tells of Aeneas, survivor of the sack of Troy, and of his seven year journey – to Carthage, falling tragically in love with Queen Dido; then to the underworld, in the company of the Sibyl of Cumae; and finally to Italy, where he founded Rome. It is a story of defeat and exile, of love and war, hailed by Tennyson as ‘the stateliest measure ever moulded by the lips of man’.

David West’s acclaimed prose translation is accompanied by his revised introduction and individual prefaces to the twelve books of The Aeneid.

Scheduled to appear in 10 volumes, this scholarly edition of Cotton Mather's Biblia Americana (1693-1728) makes available for the first time the oldest comprehensive commentary on the Bible composed in British North America. Combining encyclopaedic discussions of biblical scholarship with scientific speculations and pietistic concerns, Biblia represents one of the most significant untapped sources in American religious and intellectual history. Mather's commentary not only reflects the growing influence of Enlightenment thought (Descartes, Hobbes, Spinoza, and Newton) and the rise of the transatlantic evangelical awakening; it also marks the beginnings of historical criticism of the Bible as text in New England. Volume 1 (Genesis) of Cotton Mather's Biblia Americana is particularly valuable because Mather addresses some of the most hotly debated questions of his age: Are the six days of God's creation to be taken literally? Can the geological record of the earth's age be reconciled with biblical chronology? Were there men before Adam? How many animals fit into Noah's Ark? Was Noah's Flood a local or global event? Why are the religions of the ancient Canaanites, Egyptians, and Greeks so similar to the revealed religion of Moses? Did God dictate the Bible to his prophets, and how many (if any) of the books of the Pentateuch did Moses write? Such questions were as relevant during the early Enlightenment as, indeed, they are to many believers today. Edited, introduced, annotated, and indexed by Reiner Smolinski, Mather's commentary on Genesis is as rich in its critical texture as it is surprisingly modern in its answers to many central concerns of the Christian faith.

'Consider just this, and give your minds to this alone: whether or not what I say is just' Plato's account of Socrates' trial and death (399 BC) is a significant moment in Classical literature and the life of Classical Athens. In these four dialogues, Plato develops the Socratic belief in responsibility for one's self and shows Socrates living and dying under his philosophy. In Euthyphro, Socrates debates goodness outside the courthouse; Apology sees him in court, rebutting all charges of impiety; in Crito, he refuses an entreaty to escape from prison; and in Phaedo, Socrates faces his impending death with calmness and skilful discussion of immortality. Christopher Rowe's introduction to his powerful new translation examines the book's themes of identity and confrontation, and explores how its content is less historical fact than a promotion of Plato's Socratic philosophy.

Cuatrocientos anos despues de su publicacion, el Quijote cervantino sigue ejerciendo en el mundo entero una peculiar fascinacion que se refleja en las mas diversas expresiones artisticas. El presente volumen pretende contribuir a los estudios de recepcion de la obra de Miguel de Cervantes desde un enfoque multidisciplinar e internacional, analizando la presencia de su obra y, en especial, de Don Quijote de la Mancha, durante los siglos XX y XXI. Los trabajos aqui editados se refieren a la figura de Don Quijote como mito literario, recogiendo textos de autores de diferentes paises que estudian la impronta del autor manchego en ambitos y generos tan diversos como la literatura (novela de ficcion y novela historica, teatro, literatura infantil, novela grafica y comic), la musica (jazz, opera, cantata escenica, musica incidental), los medios audiovisuales (cine, television, publicidad), la filosofia y la historia, centrando el foco de atencion en la cultura occidental, pero sin olvidar la presencia de Cervantes en otras culturas, como la oriental o la arabe. A modo de anexo se publica, ademas, un texto inedito que hasta ahora era solo accesible en lengua arabe: el prologo a la traduccion a dicha lengua del Quijote, publicado aqui por vez primera en castellano.

The Oresteia is the only trilogy of tragedy plays to survive from Ancient Greece. Agamemnon, Libation Bearers, and Eumenides have established the enduring themes of Greek tragedy--the inexorable nature of Fate, the relationship between justice, revenge, and religion. In this family history, Fate and the gods decree that each generation will repeat the crimes and endure the suffering of their forebears. When Agamemnon is murdered by his wife, Clytemnestra, their son Orestes must avenge his father's death. Only Orestes' appeal to the goddess Athena saves him from his mother's Furies, breaking the bloody chain; together gods and humans inaugurate a way of just conduct that will ensure stable families and a strong community.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

The Oresteia is majestic as theater and as literature, and this new translation seeks to preserve both these qualities. The introduction and notes emphasize the relationship between the scenes, ideas, and language that distinguishes this unique work.

The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences c. 205-184 bc, are the earliest Latin works to survive complete and are cornerstones of the European theatrical tradition from Shakespeare and Moliere to modern times. This fourth volume of a new Loeb edition of all twenty-one of Plautus's extant comedies presents The Little Carthaginian, Pseudolus, and The Rope with freshly edited texts, lively modern translations, introductions, and ample explanatory notes.

The growing research interest in the ANibelungenliedA and problems of heroic literature in general has also led to heightened interest in AKudrunA. The verse epic is much influenced by the ANibelungenliedA and is cast in a stanza form derived from the ANibelungenA stanza. At the same time it presents a complementary view of the events in question. Here the decline of heroism is not the main theme of the plot but its replacement by the new, gentler spirit of courtly mores. In its central section the poem is a paean to the superiority of female constancy and capacity for uncomplaining suffering over the gory heroics of the declining era.

The historian Polybius (c. 200 118 BCE) was born into a leading family of Megalopolis in the Peloponnese and served the Achaean League in arms and diplomacy for many years, favoring alliance with Rome. From 168 to 151 he was held hostage in Rome, where he became a friend of Lucius Aemilius Paulus and his two sons, especially Scipio Aemilianus, whose campaigns, including the destruction of Carthage, he later attended. Late in his life, as a trusted mediator between Greece and the Romans, he helped in the discussions that preceded the final war with Carthage; and after 146 was entrusted by the Romans with the details of administration in Greece.

Polybius overall theme is how and why the Romans spread their power as they did. The main part of his history covers the years 264 146 BCE, describing the rise of Rome, her destruction of Carthage, and her eventual domination of the Greek world. It is a vital achievement of the first importance despite the incomplete state in which all but the first five of its original forty books have reached us.

For this edition, W. R. Paton s excellent translation, first published in 1922, has been thoroughly revised, the Buttner-Wobst Greek text corrected, and explanatory notes and a new introduction added, all reflecting the latest scholarship.

Petrarch (Francesco Petrarca, 1304-1374) worked over many years on his long historical text about the Lives of ancient Roman military heroes, De viris illustribus (On Famous Men). Left unfinished at his death, the text was completed by 1379 by Petrarch's colleague, Lombardo della Seta. Within a decade, De viris illustribus was translated into Italian; and in 1476 the Libro degli uomini famosi was printed in Poiano outside of Verona by the eccentric humanist and scribe, Felice Feliciano (1433-1479/1480). The edition includes a peculiar feature: preceding each of the Lives is a page on which is printed an interlace woodcut border within which, however, no image appears. The present book surveys the hand-illumination of twenty surviving copies of Felice's edition in order to investigate: the Renaissance fascination with the classical past; the artistic traditions of representing Uomini famosi; the technical problems of illustrating books with woodcuts; and the fortuna of the 1476 edition. Two copies contain sequences of heroes painted within the woodcut borders; these heroes provide evidence for reconstructing the appearance of the `lost' frescoes of famous men painted at the end of Petrarch's lifetime in the Carrara palace in Padua. The hand-illumination of other copies can be assigned to miniaturists working in Venice, Verona, Ferrara, Florence, Rome and elsewhere, suggesting Felice Feliciano's wide-reaching efforts to market the volume. The importance of studying copy-specific features in Renaissance printed books is further documented by the thirty-two colour plates and over ninety black-and-white figures.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

The historian Polybius (ca. 200 118 BCE) was born into a leading family of Megalopolis in the Peloponnese (Morea) and served the Achaean League in arms and diplomacy for many years, favoring alliance with Rome. From 168 to 151 he was held hostage in Rome, where he became a friend of Lucius Aemilius Paulus and his two sons, especially Scipio Aemilianus, whose campaigns, including the destruction of Carthage, he later attended. Late in his life he became a trusted mediator between Greece and the Romans; helped in the discussions that preceded the final war with Carthage; and after 146 was entrusted by the Romans with the details of administration in Greece.

Polybius overall theme is how and why the Romans spread their power as they did. The main part of his history covers the years 264 146 BCE, describing the rise of Rome, her destruction of Carthage, and her eventual domination of the Greek world. It is a great work: accurate, thoughtful, largely impartial, based on research, and full of insight into customs, institutions, geography, the causes of events, and the character of peoples. It is a vital achievement of the first importance despite the incomplete state in which all but the first five of its original forty books have reached us.

For this edition, W. R. Paton s excellent translation, first published in 1922, has been thoroughly revised, the Buttner-Wobst Greek text corrected, and explanatory notes and a new introduction added, all reflecting the latest scholarship.

A bold new reconception of ancient Greek drama as a mode of philosophical thinking The Philosophical Stage offers an innovative approach to ancient Greek literature and thought that places drama at the heart of intellectual history. Drawing on evidence from tragedy and comedy, Joshua Billings shines new light on the development of early Greek philosophy, arguing that drama is our best source for understanding the intellectual culture of classical Athens. In this incisive book, Billings recasts classical Greek intellectual history as a conversation across discourses and demonstrates the significance of dramatic reflections on widely shared theoretical questions. He argues that neither "literature" nor "philosophy" was a defined category in the fifth century BCE, and develops a method of reading dramatic form as a structured investigation of issues at the heart of the emerging discipline of philosophy. A breathtaking work of intellectual history by one of today's most original classical scholars, The Philosophical Stage presents a novel approach to ancient drama and sets a path for a renewed understanding of early Greek thought.

This interdisciplinary and archival study explores the reception of ancient Rome in the artistic, literary, and philosophical works of David Jones (1895-1974)-the Anglo-Welsh, Roman Catholic, First World War veteran. For Jones, the twentieth century was a period of crisis, an age of conflict, disillusionment and cultural decay, all of which he saw as evidence of the decline of Western civilisation. Across his lifetime, Jones would create a dynamic vision of ancient Rome in an attempt both to understand and to challenge this situation. His reimagining of Rome was not founded on a classical education. Instead, it was fashioned from his lived experience, extensive reading, and-most importantly-his engagement with four areas of contemporary discourse that were themselves built upon intricate and conflicting representations of Rome: British political rhetoric, cyclical history, the Catholic cultural revival, and the Welsh nationalist movement. Tracing Jones's developing approach to Rome across these contexts can provide a way into his art and thought. Whether in his poetic fragments, watercolours, essays, letters, marginalia or unique painted inscriptions, Jones strove to question, complicate and remake Rome's relationship with modernity. In this way, Rome appears in Jones's works both as a symbol of transhistorical imperialism, totalitarianism, and the mechanisation of life, and simultaneously as the cultural and religious progenitor of the West, and in particular, of Wales, with which artists must creatively reconnect if decline was to be avoided.

Thema des Bandes ist die Kontinuitat antiker Traditionen in der europaischen Literatur des Mittelalters und der Neuzeit. Ein Schwerpunkt liegt dabei auf der produktiven Aufnahme und Weiterentwicklung mythologischer Stoffe in verschiedenen nationalsprachlichen Literaturen Europas, ein weiterer auf der ideengeschichtlichen und literarischen Tradition, insbesondere auf Fragen der Poetologie und AEsthetik sowie der Aufnahme von Gattungsmustern. Dabei wird nachgezeichnet, in welchen Formen die Antike auf die Literatur des Mittelalters und der Neuzeit einwirkte. Die leitende Frage gilt der Konstitution, Vergewisserung oder auch Neubestimmung der eigenen Identitat in der bewussten und produktiven Auseinandersetzung mit dem antiken Erbe.